Benin exhibits for the first time its 26 royal treasures returned by France, 129 years after their theft

Beninese President Patrice Talon inaugurated on Saturday evening with “pride” a historic exhibition in Cotonou in which the 26 royal treasures returned in November by France after more than two years of negotiations, are presented there for the first time to the people of Benin, 129 years after their flight.

Within the presidential palace in Cotonou, a museum space of more than 2,000 m2 has been fitted out to host this exhibition entitled “Art from Benin yesterday and today, from restitution to revelation“, which opened its doors to the public on Sunday February 20, 2022 and will be visible until May 22.

These treasures, formerly exhibited at the Musée du Quai Branly in Paris, had been looted in 1892 by French colonial troops from the palace of Abomey, capital of the Kingdom of Dahomey, in the center-south of present-day Benin, then composed of several kingdoms.

This exhibit is “a pride and a faith in what we were, in what we are, and in what we will be“, declared Patrice Talon in front of the press. “There you go, Benin revealed“. With these refunds, “it’s a taboo that has been broken (…) it’s no longer a concern whether it’s possible or not, we’ve done it“, he added, specifying that Benin was going to ask France for other works still held by the former colonial power.

The 26 works returned by France are the first major restitution of objects from public collections to an African country. “This is an absolutely stunning exhibit.“said French Culture Minister Roselyne Bachelot, traveling to Cotonou for the occasion. “It perhaps renders even better the majesty, the creativity, the incredible historical, political and aesthetic heritage that these 26 works represent.“, she added.

The “continuous restitution work“, also assured the minister. “We are working on a framework law to facilitate these restitutions“, she added, specifying that the legislative work could take at least two years.

The first room of the exhibition, whose immense black painted walls give it a solemn character, gives pride of place to the thrones of the sovereigns of Dahomey. And in particular, that of King Ghézo (1797-1818), a majestic wooden sculpture with Afro-Brazilian motifs nearly two meters tall, surmounted by a curved tablet (photo above).

“Since the beginning of the installation, I do not stop contemplating it“, explains to AFP Théo Atrokpo, one of the mediators of the exhibition, who quivers with impatience “to explain the story“to his compatriots.”I had already seen it in France, but to see it here, at home, is to rediscover a part of our soul, it is to connect us to our history.“, adds this 42-year-old cultural guide.

From the half-man, half-lion statue of King Glèlè to the half-man, half-bird statue of King Ghézo, passing through the gates of the royal palace, the guests, very moved, crowded on Saturday evening to admire the treasures. “It’s very moving to find myself facing the throne of King Ghezo, I hadn’t imagined him so big, so powerful.“, confides Laeila Adjovi, a Franco-Beninese artist, several of whose works are also presented during this exhibition.

Because alongside the treasures, 34 contemporary Beninese artists have been selected to present more than a hundred works. A will of the government to link “history to the present“, and to show that the “Beninese artistic genius has endured“, despite the dispossession of part of his heritage.

From the monumental tapestries by Yves Appollinaire Pèdé honoring voodoo, to the installation made from hair by Dimitri Fagbohoun, via the Afro-futurist robots of Emo de Medeiros and the monumental and colorful paintings of Moufouli Bello, this second part shows the artistic vitality of the Beninese contemporary scene.

Several gallerists and actors from the international art world who came to attend this historic exhibition, confided that they were amazed by the scripting, which, according to them, has nothing to envy to those of the major European museums. A snub to the argument long put forward by certain institutions which refuse to return works, of a lack of training and funding to exhibit and preserve them on the continent.